The transverberation of St Teresa 1641 - 1715

Editor: This is “The Transverberation of St Teresa,” a drawing made with pen and charcoal by Antonio Nasini, sometime between 1641 and 1715. There’s an undeniable drama here. So much movement, with all the angels swirling about. What do you make of its Baroque sensibilities and iconography? Curator: Well, the Baroque loved drama, didn’t it? Nasini captures Teresa's mystical experience through loaded symbolism. Do you notice the angel poised with the arrow? Editor: Yes! It’s very striking, aiming directly at St. Teresa's heart. It looks quite painful, actually. Curator: Indeed. It references the moment divine love pierced her, a spiritual ecstasy described in her autobiography. Think about the arrow: traditionally, a symbol of Cupid and earthly love, now repurposed to signify divine love. What does that repurposing tell us about the Baroque understanding of earthly and spiritual experiences? Editor: That they’re not mutually exclusive, perhaps? That intense earthly emotion can mirror divine experience? Curator: Precisely. Look also at her face: closed eyes, serene expression. It's not pain she registers, but overwhelming pleasure, or at least, acceptance. This transverberation, as it is called, isn't simply about a physical piercing, but a total transformation through love. Nasini connects cultural memory to a visual symbol, effectively. Editor: It is incredibly powerful how symbols, like the arrow, can evolve and carry different emotional weights across time. I see what you mean about how Baroque artists in particular loved that concept. Curator: And hopefully, the next time you see an angel with an arrow, you’ll remember St. Teresa and consider the deeper meaning it might hold. Editor: Absolutely. Thanks for illuminating the imagery for me!